Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís
Eurídice became the main character in Eurídice y Orfeo by Antonio de Solís, staged in Pamplona in 1643 and adapted to be performed at Coliseo del Buen Retiro in 1655. The playwright created a love-honour-jelalousy conflict based on Eurídice. But in her baroque characterization for stage, several que...
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| Format: | Article |
| Language: | Spanish |
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Presses universitaires du Mirail
2022-04-01
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| Series: | Criticón |
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| Online Access: | http://journals.openedition.org/criticon/21304 |
| Summary: | Eurídice became the main character in Eurídice y Orfeo by Antonio de Solís, staged in Pamplona in 1643 and adapted to be performed at Coliseo del Buen Retiro in 1655. The playwright created a love-honour-jelalousy conflict based on Eurídice. But in her baroque characterization for stage, several questions linked to the limits of art and the representation of women came into light and activated some epistemological problems which were essential to Seventeenth century worldview regarding body-image and life-art dialectics. In Coliseo’s rendition Solís could moreover profit from a number of performing options not only in order to intensify the visual power of mythological fest but also deepen into tensions about the representation of the female which also appeared in poetry and visual arts. |
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| ISSN: | 0247-381X 2272-9852 |